Callaghan and the Church
Abstract: MORLEY CALLAGHAN’S DEBT ?? CHRISTIANITY has been over-estimated and his distance from that tradition never fully explored. Content with the ...
Callaghan As Columnist, 1940-48
Abstract: FROM MARCH 1940 THROUGH to February/March 1948, Morley Callaghan wrote a monthly column for the ill-fated national pictorial, New World.1 ...
Calling Out the MacLean Boys: George Bowering’s Shoot and the Autobiography of British Columbia History
Abstract: Where historians try to come to grips with a period which has left surviving eyewitnesses, two quite different concepts of ...
Canada and Wyndham Lewis the Artist
Abstract: NOTiCE OF WYNDHAM LEWIS’S first and only official connection with Canadian art is preserved in the Canadian War Services Records: ...
Canadian Art According to Emily Carr: The Search for Indigenous Expression
Abstract: Although Emily Carr was initially committed to depicting First Nations cultural iconography and experiences in both her writing and what ...
Canadian Artists as Writers
Abstract: PAUL KANE was probably the first painter to attempt a delib- erate delineation of the land and its people, as ...
Canadian Attitudes: Pastoral with Ostriches and Mocking-birds
Abstract: ?HE FOLLOWING REMARKS neither derive from nor imply any HE feeling of self exemption. I am addressing myself to what ...
Canadian Books: A Publisher’s View
Abstract: ?I HE PROBLEMS THA T WRITERS and publishers talk about together have usual?ly??to do with money and the publishing situation. ...
Canadian Children’s Books: A Bookseller’s Point of View
Abstract: CAN YOU IMAGINE a Canadian bestseller NOT written by either Berton, Mowat or Laurence which has sold 125,000 copies since ...
Canadian Comics Studies, Canons, the Coach House, and The Cage
Abstract: What are the practices and techniques that different communities use to create value from the comic books that they produce, circulate and consume? More specifically, what happens when a comic book crosses the fuzzy interzone that divides one community from another? What sense of value, if any, travels along with it? And what is ignored or overlooked because, for whatever reason, it hasn't made it through the membrane? This article uses these questions in order to think about the work of Martin Vaughn-James, especially The Cage, published by Coach House in 1975. It arguies that that The Cage isn’t as singular as it might appear to a comics critic unfamiliar with 60s and 70s small-press output, and that the barrier between the comics world and the neo-avant-gardes is more porous than it first appears.